Watch the Famous James Baldwin-William F. Buckley Debate in Full, With Restored Audio (1965)

When James Bald­win took the stage to debate William F. Buck­ley at Cam­bridge in 1965, it was to have “a debate we shouldn’t need,” writes Gabrielle Bel­lot at Lit­er­ary Hub, and yet it’s one that is still “as impor­tant as ever.” The propo­si­tion before the two men—famed prophet­ic nov­el­ist of the black expe­ri­ence in Amer­i­ca and the con­ser­v­a­tive founder of the Nation­al Review—was this: “The Amer­i­can Dream is at the Expense of the Amer­i­ca Negro.”

The state­ment should not need defend­ing, Bald­win argued, because it is so obvi­ous­ly true. The wealth cre­at­ed by hun­dreds of years of slav­ery has passed down through gen­er­a­tions of fam­i­lies. So too has the pover­ty. These divi­sions have been stren­u­ous­ly main­tained by Jim Crow, redlin­ing, and racist polic­ing. “Prof­its from slav­ery,” write Stephen Smith and Kate Ellis at APM Reports, “helped fund some of the most pres­ti­gious schools in the North­east, includ­ing Har­vard, Colum­bia, Prince­ton and Yale,” which hap­pened to be Buckley’s alma mater and was found­ed by an actu­al slave trad­er.

Slave labor fund­ed, built, and main­tained near­ly every part of the for­ma­tive uni­ver­si­ty sys­tem in the ear­ly U.S., and built the wealth of many oth­er pow­er­ful insti­tu­tions. Bald­win says it is “awk­ward” to have to point out these facts. Rather than recite them, he per­son­al­izes, speak­ing, he says, as “a kind of Jere­mi­ah” in nam­ing crimes gone unre­dressed for too long: “I am stat­ing very seri­ous­ly, and this is not an over­state­ment. I picked the cot­ton, I car­ried it to the mar­ket, and I built the rail­roads under some­one else’s whip for noth­ing. For noth­ing…. The Amer­i­can soil is full of the corpses of my ances­tors. Why is my free­dom or my cit­i­zen­ship, or my right to live there, how is it con­ceiv­ably a ques­tion now?”

Buckley’s response drips with con­de­scen­sion and con­tempt. He begins with a stan­dard con­ser­v­a­tive line: deplor­ing the acts of a few “indi­vid­ual Amer­i­can cit­i­zens” who “per­pet­u­ate dis­crim­i­na­tion,” but deny­ing that his­toric, sys­temic racism still exists. He then cites “the fail­ure of the Negro com­mu­ni­ty itself to make cer­tain exer­tions, which were made by oth­er minor­i­ty groups dur­ing the Amer­i­can expe­ri­ence.” He damns an entire group of peo­ple with plat­i­tudes about hard work while also declar­ing loud­ly that race has noth­ing to do with it.

This contradiction—engaging in racist scape­goat­ing while claim­ing not to see race—was part of the strat­e­gy of “col­or­blind” con­ser­vatism the Nation­al Review adopt­ed after the pas­sage the Civ­il Rights Act. Pri­or to the ear­ly six­ties, how­ev­er, Buck­ley had been a stri­dent seg­re­ga­tion­ist who pub­licly defend­ed insti­tu­tion­al­ized white suprema­cy rather than claim­ing it had dis­ap­peared. In 1957, he wrote an edi­to­r­i­al titled “Why the South Must Pre­vail” and argued that white south­ern politi­cians must “take such mea­sures as are nec­es­sary to pre­vail, polit­i­cal­ly and cul­tur­al­ly” over black cit­i­zens.

Buck­ley had not fun­da­men­tal­ly changed in 1965, though he posi­tioned him­self as a mod­er­ate mid­dle ground between lib­er­als and seg­re­ga­tion­ists like Strom Thur­mond, whom he con­sid­ered crude. His posi­tion amounts to lit­tle more than a defense of dom­i­na­tion, couched in what his­to­ri­an Joshua Tait calls the “racial inno­cence of intel­lec­tu­al con­ser­vatism” that delib­er­ate­ly ignores or dis­torts his­tor­i­cal truths and present real­i­ties. “Bristling at Baldwin’s claim that the Amer­i­can econ­o­my was built by the unre­mu­ner­at­ed labour of Black peo­ple,” writes Joss Har­ri­son, “Buck­ley cries: ‘My great grand­par­ents worked too!’”

The debate “now stands as one of the arche­typ­al artic­u­la­tions of the divid­ing line between US pro­gres­sives and con­ser­v­a­tives on ques­tions of race, jus­tice and his­to­ry,” writes Aeon, who bring us the full ver­sion above with restored audio by Adam D’Arpino. Buck­ley responds to Baldwin’s pow­er­ful rhetoric with insults, out of con­text “facts and fig­ures – as well as an ad hominem shot at Baldwin’s speak­ing voice.” He pro­pos­es that one road to equal­i­ty lies in dis­en­fran­chis­ing poor South­ern whites as well as black cit­i­zens.

Buck­ley dis­plays a “com­plete igno­rance of the prob­lems faced by black Amer­i­cans in soci­ety,” writes Har­ri­son. Such igno­rance, “allied with pow­er,” Bald­win said else­where, con­sti­tutes “the most fero­cious ene­my jus­tice can have.” For Bald­win, Buck­ley’s atti­tude sim­ply con­firmed the “great shock,” that he mov­ing­ly describes in his debate state­ment, “around the age of five, or six, or sev­en, to dis­cov­er that the flag to which you have pledged alle­giance, along with every­body else, has not pledged alle­giance to you.”

via Aeon

Relat­ed Con­tent:

Why James Baldwin’s Writ­ing Stays Pow­er­ful: An Art­ful­ly Ani­mat­ed Intro­duc­tion to the Author of Notes of a Native Son

Great Cul­tur­al Icons Talk Civ­il Rights: James Bald­win, Mar­lon Bran­do, Har­ry Bela­fonte & Sid­ney Poiti­er (1963)

James Bald­win: Wit­ty, Fiery in Berke­ley, 1979

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Watch Vintage Footage of Tokyo, Circa 1910, Get Brought to Life with Artificial Intelligence

For more than 200 years, the rulers of Japan kept the coun­try all but closed to the out­side world. In 1854, the “Black Ships” of Amer­i­can com­man­der Matthew Per­ry arrived to demand an end to Japan­ese iso­la­tion — and a com­mence­ment of Japan­ese world trade. With­in decades, many fash­ion-for­ward Euro­peans and even Amer­i­cans could­n’t get enough things Japan­ese, espe­cial­ly the art, crafts, and cloth­ing that exem­pli­fied kinds of beau­ty they’d nev­er known before. (Vin­cent van Gogh was a par­tic­u­lar­ly avid fan.) But if Japan changed the West, the West trans­formed Japan, a process ful­ly in effect in the footage above, shot on the streets of Tokyo between 1913 and 1915.

These scenes may look famil­iar to ded­i­cat­ed Open Cul­ture read­ers, and indeed, we pre­vi­ous­ly fea­tured anoth­er ver­sion of this film back in 2018. With its speed cor­rect­ed to remove the herky-jerk­i­ness com­mon to old films and with back­ground noise added, these glimpses of the men, women, and many chil­dren of the Japan­ese cap­i­tal, all of them liv­ing between the inward-look­ing tra­di­tion of their coun­try as it had been and the onrush of moder­ni­ty from with­out, already felt real­is­tic.

But now you may feel you’ve been per­son­al­ly trans­port­ed to this cul­tur­al­ly and eco­nom­i­cal­ly heady time in the Land of the Ris­ing Sun thanks to the work of Denis Shiryaev, a Youtu­ber who spe­cial­izes in enlarg­ing and restor­ing vin­tage film clips with arti­fi­cial intel­li­gence.

Shi­rayev is also respon­si­ble for the enhanced ver­sions of scenes from Belle Époque Paris, czarist Moscow, Vic­to­ri­an Eng­land, New York City in 1911, and even the Lumière Broth­ers’ ear­ly motion pic­ture The Arrival of a Train at La Cio­tat Sta­tion. At the begin­ning of this video he reveals the stages of the process that brought this cen­tu­ry-old footage of Tokyo to greater vivid­ness: de-nois­ing and dam­age removal, col­oriza­tion, facial restora­tion, and upscal­ing to 4K res­o­lu­tion at 60 frames per sec­ond — all assist­ed by neur­al net­works that, “trained” on rel­e­vant visu­al mate­ri­als new and old, crisp and weath­ered, to deter­mine the best ways to make it all look more con­vinc­ing. The results may make you won­der what else will soon be pos­si­ble — sure­ly not a feel­ing unknown to  these ear­ly 20th-cen­tu­ry Toky­oites.

Relat­ed Con­tent:

Watch Life on the Streets of Tokyo in Footage Record­ed in 1913: Caught Between the Tra­di­tion­al and the Mod­ern

A Trip Through New York City in 1911: Vin­tage Video of NYC Gets Col­orized & Revived with Arti­fi­cial Intel­li­gence

Time Trav­el Back to Tokyo After World War II, and See the City in Remark­ably High-Qual­i­ty 1940s Video

Down­load Hun­dreds of 19th-Cen­tu­ry Japan­ese Wood­block Prints by Mas­ters of the Tra­di­tion

1850s Japan Comes to Life in 3D, Col­or Pho­tos: See the Stereo­scop­ic Pho­tog­ra­phy of T. Ena­mi

The Entire His­to­ry of Japan in 9 Quirky Min­utes

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

Did the CIA Write the Scorpions’ “Wind of Change,” One of the Bestselling Songs of All Time?

By the time the Berlin Wall fell in 1989, it seemed the fate of the Sovi­et Union was all but sealed. It would be two more years before the USSR offi­cial­ly dis­solved, and flew the Sovi­et flag over the Krem­lin for the last time, but the age of Cold War bel­liger­ence offi­cial­ly end­ed with the 1980s, so it seemed. Soft pow­er and sua­sion would fin­ish the job. And what bet­ter way to announce this tran­si­tion than with the soft-rock stylings of a pow­er bal­lad like the Scor­pi­ons’ “Wind of Change”? The sen­ti­men­tal song from Ger­man met­al and hard rock favorites was sud­den­ly inescapable in 1990, and it was not at all sub­tle about its mes­sage.

The song became a mas­sive hit and remains one of the best-sell­ing sin­gles of all time. It served as “a sound­track of sorts to a polit­i­cal and cul­tur­al rev­o­lu­tion,” writes Richard Bien­stock at Rolling Stone. Odd­ly, “espe­cial­ly in light of the Scor­pi­ons’ back­ground… ‘Wind of Change’ was about nei­ther the Berlin Wall nor their Ger­man home­land.” Instead, the song was osten­si­bly inspired by a his­toric two-day fes­ti­val the band played in Moscow in 1989, a so-called “hard-rock Wood­stock” fea­tur­ing met­al roy­al­ty like Ozzy Osbourne, Möt­ley Crüe, Cin­derel­la, and Skid Row along­side hard rock Sovi­et bands like Gorky Park.

Three months after the con­cert, the Berlin Wall fell, and Scor­pi­ons’ lead singer Klaus Meine wrote the words:

The world is clos­ing in
Did you ever think
That we could be so close, like broth­ers
The future’s in the air
I can feel it every­where
Blow­ing with the wind of change

The icon­ic whis­tled intro and lighters-in-the-air video cement­ed “Wind of Change” as a defin­i­tive state­ment on how the “chil­dren of tomor­row” will “share their dreams” in a glob­al­ized world. Tan­ta­liz­ing­ly vague, the lyrics read like Sur­re­al­ist ad copy, slid­ing back and forth between dog­ger­el and weird Sym­bol­ist incan­ta­tion:

The wind of change
Blows straight into the face of time
Like a stormwind that will ring the free­dom bell
For peace of mind
Let your bal­alai­ka sing
What my gui­tar wants to say

These lines, it may not shock you to learn, may have been writ­ten by the CIA. At least, “that’s the mys­tery dri­ving the new eight-part pod­cast series Wind of Change,” writes Nicholas Quah at Vul­ture. (Lis­ten on Apple, Spo­ti­fy, Google, and on the pod­cast web­site.) “Led by New York­er staff writer Patrick Rad­den Keefe and pro­duced by Pineap­ple Street’s Hen­ry Molof­sky… the jour­ney takes us to a shape-shift­ing Won­der­land, a world where an Amer­i­can agency like the CIA may very well have par­tic­i­pat­ed in the pro­duc­tion of pop cul­ture as part of con­cert­ed efforts to build sen­ti­ment against its ene­mies abroad. It might even be some­thing that’s hap­pen­ing right now.”

Those who’ve read about how the Agency has influ­enced every­thing from Abstract Expres­sion­ism, to lit­er­ary mag­a­zines, cre­ative writ­ing, and Hol­ly­wood films might not find these alle­ga­tions par­tic­u­lar­ly sur­pris­ing, but as with all the best exam­ples of the ser­i­al pod­cast form, it’s the jour­ney, not the des­ti­na­tion that makes this sto­ry worth pur­su­ing. Keefe approach­es the sub­ject with a naiveté that might be delib­er­ate, play­ing up the idea of mass enter­tain­ment as “care­ful­ly devised and cal­i­brat­ed mes­sag­ing.”

The pod­cast is great fun (“it’s been described as This is Spinal Tap meets All the President’s Men,” writes Dead­line); its sto­ry, Keefe says in a state­ment, “stretch­es across musi­cal gen­res, and across bor­ders and peri­ods of his­to­ry.” Do we ever find out for sure whether the agency best known for over­throw­ing gov­ern­ments it doesn’t like wrote the Scor­pi­ons’ 1990 pow­er bal­lad “Wind of Change”? “Hear the music, and the accents and the voic­es,” says Keefe, “and judge for your­self who might be lying and who is telling the truth.”

If you ask Klaus Meine, it’s all a fan­ta­sy. (But, then, he would say that, would­n’t he?) “It’s weird,” the Scor­pi­ons singer com­ment­ed after learn­ing about Keefe’s pod­cast. “In my wildest dreams I can’t think about how that song would con­nect with the CIA.”  The idea, how­ev­er, would make “a good idea for a movie,” he says, “That would be cool.” A movie, maybe, fund­ed by the CIA.

Relat­ed Con­tent:

How the CIA Fund­ed & Sup­port­ed Lit­er­ary Mag­a­zines World­wide While Wag­ing Cul­tur­al War Against Com­mu­nism

The CIA Assess­es the Pow­er of French Post-Mod­ern Philoso­phers: Read a New­ly Declas­si­fied CIA Report from 1985

Read the CIA’s Sim­ple Sab­o­tage Field Man­u­al: A Time­less Guide to Sub­vert­ing Any Orga­ni­za­tion with “Pur­pose­ful Stu­pid­i­ty” (1944)

How the CIA Helped Shape the Cre­ative Writ­ing Scene in Amer­i­ca

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Thomas Jefferson’s Great-Great-Great-Great-Great-Great Grandson Poses for a Presidential Portrait

We hold these truths to be self-evi­dent: that all men are cre­at­ed equal; that they are endowed by their Cre­ator with cer­tain unalien­able rights; that among these are life, lib­er­ty and the pur­suit of hap­pi­ness…  —Thomas Jef­fer­son, 3rd Pres­i­dent of the Unit­ed States of Amer­i­ca

He was a bril­liant man who preached equal­i­ty, but he didn’t prac­tice it. He owned peo­ple. And now I’m here because of it. —Shan­non LaNier, co-author of Jefferson’s Chil­dren: The Sto­ry of One Amer­i­can Fam­i­ly

Many of the Amer­i­can par­tic­i­pants in pho­tog­ra­ph­er Drew Gard­ner’s ongo­ing Descen­dants project agreed to tem­porar­i­ly alter their usu­al appear­ance to height­en the his­toric resem­blance to their famous ances­tors, adopt­ing Eliz­a­beth Cady Stanton’s lace cap and sausage curls or Fred­er­ick Dou­glass’ swept back mane.

Actor and tele­vi­sion pre­sen­ter Shan­non LaNier sub­mit­ted to an uncom­fort­able, peri­od-appro­pri­ate neck­wrap, tugged into place with the help of some dis­creet­ly placed paper­clips, but skipped the wig that would have brought him into clos­er vis­i­ble align­ment with an 1800 por­trait of his great-great-great-great-great-great-great-grand­fa­ther, Thomas Jef­fer­son.

“I didn’t want to become Jef­fer­son,” states LaNier, whose great-great-great-great-great-great-great-grand­moth­er, Sal­ly Hem­ings, was writ­ten out of the nar­ra­tive for most of our country’s his­to­ry.

An enslaved half-sis­ter of Jefferson’s late wife, Martha, Hem­ings was around six­teen when she bore Jefferson’s first child, as per the mem­oir of her son, Madi­son, from whom LaNier is also direct­ly descend­ed.

She has been por­trayed onscreen by actors Car­men Ejo­go and Thandie New­ton (and Maya Rudolph in an icky Sat­ur­day Night Live skit.)

But there are no pho­tographs or paint­ed por­traits of her, nor any sur­viv­ing let­ters or diary entries. Just two accounts in which she is described as attrac­tive and light-skinned, and some polit­i­cal car­toons that paint an unflat­ter­ing pic­ture.

The mys­tery of her appear­ance might make for an inter­est­ing com­pos­ite por­trait should the Smith­son­ian, who com­mis­sioned Gardner’s series, seek to entice all of LaNier’s female and female-iden­ti­fy­ing cousins from the Hem­ings line to pose.

While LaNier was aware of his con­nec­tion to Jef­fer­son from ear­li­est child­hood, his peers scoffed and his moth­er had to take the mat­ter up with the prin­ci­pal after a teacher told him to sit down and stop lying. As he recalled in an inter­view:

When they didn’t believe me, it became one of those things you stop shar­ing because, you know, peo­ple would make fun of you and then they’d say, “Yeah, and I’m relat­ed to Abra­ham Lin­coln.”

His fam­i­ly pool expand­ed when Jefferson’s great-great-great-great-grand­son, jour­nal­ist Lucian King Truscott IVwhose fifth great-grand­moth­er was Martha Jef­fer­sonissued an open invi­ta­tion to Hem­ings’ descen­dants to be his guests at a 1999 fam­i­ly reunion at Mon­ti­cel­lo.

It would be anoth­er 20 years before the Thomas Jef­fer­son Foun­da­tion and Mon­ti­cel­lo tour guides stopped fram­ing Hem­ings’ inti­mate con­nec­tion to Jef­fer­son as mere tat­tle.

Now vis­i­tors can find an exhib­it ded­i­cat­ed to her life, both online and in the recent­ly reopened house-muse­um.

Truscott laud­ed the move in an essay on Salon, pub­lished the same week that a year­book pho­to of Vir­ginia Gov­er­nor Ralph Northam in black­face pos­ing next to a fig­ure in KKK robes began to cir­cu­late:

Mon­ti­cel­lo is com­mit­ting an act of equal­i­ty by telling the sto­ry of slave life there, and by exten­sion, slave life in Amer­i­ca. When my cousins in the Hem­ings fam­i­ly stand up and proud­ly say, we are descen­dants of Thomas Jef­fer­son, they are com­mit­ting an act of equal­i­ty…. The pho­to­graph you see here is a pic­ture of who we are as Amer­i­cans. One day, a pho­to­graph of two cousins, one black and one white, will not be seen as unusu­al. One day, acts of equal­i­ty will out­weigh acts of racism. Until that day, how­ev­er, Shan­non and I will keep fight­ing for what’s right. And one day, we will win.

Watch a video of Jef­fer­son descen­dant Shan­non Lanier’s ses­sion with pho­tog­ra­ph­er Drew Gard­ner here.

See more pho­tos from Gardner’s Descen­dents project here.

Read his­to­ri­an Annette Gor­don-Reed’s New York Times op-ed on the com­pli­cat­ed Hem­ings-Jef­fer­son con­nec­tion here.

via Petapix­el

Relat­ed Con­tent: 

John Trumbull’s Famous 1818 Paint­ing Dec­la­ra­tion of Inde­pen­dence Vir­tu­al­ly Defaced to Show Which Found­ing Fathers Owned Slaves

Meet “Found­ing Moth­er” Mary Katharine God­dard, First Female Post­mas­ter in the U.S. and Print­er of the Dec­la­ra­tion of Inde­pen­dence

Hamil­ton Mania Inspires the Library of Con­gress to Put 12,000 Alexan­der Hamil­ton Doc­u­ments Online

Ayun Hal­l­i­day is an author, illus­tra­tor, the­ater mak­er and Chief Pri­ma­tol­o­gist of the East Vil­lage Inky zine.  Fol­low her @AyunHalliday.

16th Century Bookwheels, the E‑Readers of the Renaissance, Get Brought to Life by 21st Century Designers

Most of us, through our com­put­ers or our even our phones, have access to more books than we could ever read in one life­time. That cer­tain­ly would­n’t have been the case in, say, the mid­dle ages, when books — assum­ing you belonged to the elite who could read them in the first place — were rare and pre­cious objects. Both books and lit­er­a­cy became more com­mon dur­ing the Renais­sance, though acquain­tance with both could still be con­sid­ered the sign of a poten­tial­ly seri­ous schol­ar. And for the most seri­ous Renais­sance schol­ars of all, Ital­ian mil­i­tary engi­neer Agosti­no Ramel­li designed the book­wheel, an elab­o­rate mechan­i­cal device allow­ing the user to turn from one book to anoth­er in rel­a­tive­ly quick suc­ces­sion.

First drawn by Ramel­li in 1588 (and pre­vi­ous­ly fea­tured here on Open Cul­ture in 2017) but nev­er actu­al­ly con­struct­ed by him, the book­wheel has attract­ed renewed atten­tion in the 21st cen­tu­ry. “In 2018, a group of under­grad­u­ate engi­neer­ing stu­dents at the Rochester Insti­tute of Tech­nol­o­gy set out to build two,” writes Atlas Obscu­ra’s Claire Voon. “They began by dili­gent­ly study­ing the Ital­ian engineer’s illus­tra­tion, then pro­cured his­tor­i­cal­ly accu­rate mate­ri­als, such as Euro­pean beech and white oak.

With the help of mod­ern pow­er tools and process­es, such as com­put­er mod­el­ing and CNC rout­ing, they brought it to life.” You can see the RIT book­wheels under con­struc­tion and in action in the video above. (Its schemat­ics, near-impos­si­bly com­plex by the stan­dards of Ramel­li’s day, are also avail­able at RIT’s web site.)

Oth­ers have also brought Ramel­li’s design into real­i­ty. In the video just above, for exam­ple, we have writer Joshua Foer (pre­vi­ous­ly fea­tured here for his work on the sci­ence of mem­o­riza­tion) tak­ing his own repro­duc­tion for a spin. “It’s a fer­ris wheel for books,” Foer explains, “so that a schol­ar can have eight books in front of them, sort of like tabbed brows­ing before tabbed brows­ing.” The device’s cher­ry wood and laser-cut gears are cer­tain­ly hand­some, but what of its prac­ti­cal­i­ty? “I often read mul­ti­ple books at one time, and this way I can have them all open in front of me.” Most all of us start more books than we can fin­ish, and as we attempt to read them all in par­al­lel, occa­sion­al­ly one or two do get for­got­ten. Hence one advan­tage, even in our mod­ern times, of Ramel­li’s book wheel: any book placed on it becomes as unig­nor­able as the machine itself.

Relat­ed Con­tent:

Behold the “Book Wheel”: The Renais­sance Inven­tion Cre­at­ed to Make Books Portable & Help Schol­ars Study (1588)

Dis­cov­er the Jacobean Trav­el­ing Library: The 17th Cen­tu­ry Pre­cur­sor to the Kin­dle

The Art of Mak­ing Old-Fash­ioned, Hand-Print­ed Books

Won­der­ful­ly Weird & Inge­nious Medieval Books

Wear­able Books: In Medieval Times, They Took Old Man­u­scripts & Turned Them into Clothes

How to Mem­o­rize an Entire Chap­ter from “Moby Dick”: The Art and Sci­ence of Remem­ber­ing Every­thing

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

An Animated Introduction to the Pioneering Anthropologist Margaret Mead

Mod­ern West­ern soci­eties haven’t solved the prob­lem of sex, but Samoa has the answer. Or at least it does accord­ing to the work of influ­en­tial anthro­pol­o­gist Mar­garet Mead, sub­ject of the ani­mat­ed intro­duc­tion from Alain de Bot­ton’s School of Life above. Her men­tor Franz Boas, the founder of anthro­pol­o­gy in the Unit­ed States, saw not a world pro­gress­ing “in a lin­ear fash­ion from bar­barism to sav­agery to civ­i­liza­tion” but “teem­ing with sep­a­rate cul­tures, each with their own unique per­spec­tives, insights, and effi­cien­cies.”

Though Mead­’s time liv­ing among the natives on the dis­tant islands of Samoa came at Boas’ sug­ges­tion, she already believed that “iso­lat­ed cul­tures could serve as lab­o­ra­to­ries that would reveal ways of liv­ing that the mod­ern world had for­got­ten about, but need­ed to remem­ber.” The result­ing book, 1928’s Com­ing of Age in Samoa, turned Mead into the most famous anthro­pol­o­gist in the world. In it she describes Samoan cul­ture as “far more open and com­fort­able with sex than the mod­ern Unit­ed States. Lit­tle chil­dren in Samoa knew all about mas­tur­ba­tion, and learned about inter­course and oth­er acts through first-hand obser­va­tion, but thought of it as no more scan­dalous or wor­thy of com­ment than death or birth.”

Mead also not­ed an accep­tance of not just homo­sex­u­al­i­ty but a nat­ur­al shift in sex­u­al ori­en­ta­tion over time — a con­di­tion bound to intrigue a seri­ous schol­ar who her­self led a rather uncon­ven­tion­al life, “simul­ta­ne­ous­ly involved with suc­ces­sive hus­bands and her ever-present female lover.” Her analy­sis of Samoa, which informed the world­views of such influ­en­tial fig­ures as chil­drea­r­ing guru Ben­jamin Spock, would take on an even broad­er appeal in the 1960s, when a ris­ing coun­ter­cul­ture sought inspi­ra­tion in its push to trans­form West­ern soci­ety. Pro­po­nents of the “sex­u­al rev­o­lu­tion” and its loos­en­ing of norms found a nat­ur­al ally in Mead, and traces of her life and work remain in frag­ments of the Sum­mer of Love up to and includ­ing Hair, one of whose minor char­ac­ters has her name.

Mead also comes up in Hunter Thomp­son’s 1971 epi­taph for the coun­ter­cul­ture, Fear and Loathing in Las Vegas. The scene is the Nation­al Dis­trict Attor­neys Asso­ci­a­tion’s Con­fer­ence on Nar­cotics and Dan­ger­ous Drugs, at which a par­tic­i­pant sug­gests that Mead par­takes in the sub­stance known as mar­i­jua­na. The “drug expert” onstage replies thus: “At her age, if she did smoke grass, she’d have one hell of a trip.” Though Mead pub­licly showed sym­pa­thy for addicts, whom she described as “casu­al­ties of a bad­ly orga­nized soci­ety,” her own expe­ri­ences with mind-alter­ing sub­stances are less well doc­u­ment­ed. But then, her time in Samoa may well have been the only con­scious­ness-expand­ing trip she need­ed.

Relat­ed Con­tent:

Jack Ker­ouac, Allen Gins­berg & Mar­garet Mead Explain the Mean­ing of “Beat” in Rare 1950s Audio Clips

A Com­plete Dig­i­ti­za­tion of Eros Mag­a­zine: The Con­tro­ver­sial 1960s Mag­a­zine on the Sex­u­al Rev­o­lu­tion

The His­to­ry of West­ern Social The­o­ry, by Alan Mac­Far­lane, Cam­bridge Uni­ver­si­ty

Anthro­pol­o­gist Claude Lévi-Strauss Remem­bered

Based in Seoul, Col­in Mar­shall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les and the video series The City in Cin­e­ma. Fol­low him on Twit­ter at @colinmarshall, on Face­book, or on Insta­gram.

How Two Teenage Dutch Sisters Ended Up Joining the Resistance and Assassinating Nazis During World War II

Ger­many invad­ed the Nether­lands in 1940 and quick­ly over­pow­ered the country’s small forces. Nazis arrest­ed and deport­ed Jews, cre­at­ed forced labor, strict­ly rationed food, and banned all non-Nazi orga­ni­za­tions. “Almost every Dutch per­son was affect­ed by the con­se­quences of the occu­pa­tion,” the Verzets Resis­tance Muse­um writes. “The choic­es and dilem­mas fac­ing the pop­u­la­tion became more far reach­ing.” Often those choic­es were stark: Col­lab­o­rate and live? Or resist and will­ing­ly put one­self at risk of prison or death?

Two sis­ters, Fred­die and Tru­us Over­stee­gen, 14 and 16 years old dur­ing the Ger­man inva­sion, chose the lat­ter course of action. Along with 19-year-old Han­nie Schaft, a Dutch nation­al hero the Nazis called “the girl with the red hair,” they did things they cer­tain­ly nev­er imag­ined they would, killing sol­diers and col­lab­o­ra­tors in order to save lives. The sis­ters learned their first resis­tance lessons at home. They were raised in the city of Haar­lem by their work­ing-class, com­mu­nist moth­er, Tri­jn, who “taught the girls com­pas­sion for those less for­tu­nate,” writes Jake Rossen at Men­tal Floss.

The fam­i­ly shel­tered Jews, dis­si­dents, and gays flee­ing Ger­many in the 1930s. “When the Nazis invad­ed the Nether­lands,” Rossen notes, “Fred­die and Tru­us hand­ed out pam­phlets oppos­ing the occu­pa­tion and plas­tered warn­ings over pro­pa­gan­da posters.” The Dutch resis­tance asked the girls to join them, and their moth­er agreed, know­ing lit­tle of what lay in store.

Fred­die and Tru­us were, for a time, the only two women in the sev­en-per­son rebel­lion dubbed the Haar­lem Coun­cil of Resis­tance. After being recruit­ed by com­man­der Frans van der Wiel in 1941, the two learned the basics of sab­o­tage, pick­ing up tricks like how to rig rail­ways and bridges with dyna­mite so trav­el paths would be cut off; how to fire a weapon; and how to roam unde­tect­ed through an area pep­pered with Nazi sol­diers. The lat­ter abil­i­ty was a result of their appear­ance. With her hair in braids, Fred­die was said to have looked as young as 12 years old. Few sol­diers took notice of the two girls as they rode bicy­cles through occu­pied ter­ri­to­ry, though they were secret­ly act­ing as couri­ers, trans­port­ing paper­work and weapons for the resis­tance. The duo burned down a Nazi ware­house unde­tect­ed. They escort­ed small chil­dren and refugees to hid­ing spots and secured false iden­ti­fi­ca­tion for them, which they con­sid­ered of para­mount impor­tance even as Allied bombs went off over­head.

The sis­ters lured SS offi­cers into death­traps, act­ing as look­outs while fight­ers killed the Ger­mans. They soon “grad­u­at­ed to elim­i­nat­ing their own tar­gets, which Fred­die would lat­er describe as ‘liq­ui­da­tions,’” gun­ning down Nazis from their bicy­cles. “Some­times, Fred­die said, she would shoot a man and then feel a strange com­pul­sion to try to help him up.” It’s a chill­ing image of a resis­tance fight­er who is also a child sol­dier in a war she can­not avoid.

“There were a lot of women involved in the resis­tance in the Nether­lands,” says Bas von Ben­da-Beck­mann, a for­mer researcher at the Nether­lands’ Insti­tute for War, Holo­caust and Geno­cide Stud­ies, “but not so much in the way these girls were. There are not that many exam­ples of women who actu­al­ly shot col­lab­o­ra­tors.” The women nev­er revealed how many peo­ple they “liq­ui­dat­ed.” When asked in inter­views, History.com notes, “Fred­die would tell people…she and her sis­ter were sol­diers, and sol­diers don’t say.”

Han­nie was even­tu­al­ly cap­tured and exe­cut­ed. The Over­stee­gen sis­ters sur­vived the war and lived into their 90s, pass­ing away with­in two years of each oth­er: Tru­us in 2016 and Fred­die in 2018. The trau­mat­ic toll these events took on Fred­die was evi­dent to the end of her life. “If you ask me,” her son Remi Dekker said after her death, “In her mind [the war] was still going on, and on. It didn’t stop, even until the last day.”

The Over­stee­gen sis­ters were part of a hand­ful of Dutch resis­tance fight­ers who lived into the 21st cen­tu­ry. Anoth­er resis­tance hero, Sel­ma van de Perre, is still alive at 97 and has pub­lished a book about her expe­ri­ence and the many oth­er Jew­ish resis­tance fight­ers in the Nether­lands dur­ing the war. The coun­try “spawned one of Europe’s most for­mi­da­ble anti-Nazi net­works,” the Pitts­burgh Jew­ish Chron­i­cle points out, thanks to the brav­ery of young fight­ers like Schaft, the Over­stee­gan sis­ters, and van de Perre. Learn more at the Verzets Resis­tance Muse­um.

via Men­tal Floss

Relat­ed Con­tent:

The Secret Stu­dent Group Who Took on the Nazis: An Intro­duc­tion to “The White Rose”

How Jazz-Lov­ing Teenagers–the Swingjugend–Fought the Hitler Youth and Resist­ed Con­for­mi­ty in Nazi Ger­many

Albert Camus, Edi­tor of the French Resis­tance News­pa­per Com­bat, Writes Mov­ing­ly About Life, Pol­i­tics & War (1944–47)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Hear the Voices of Americans Born in Slavery: The Library of Congress Features 23 Audio Interviews with Formerly Enslaved People (1932–75)

“Dur­ing the last three decades of legal slav­ery in Amer­i­ca,” writes Lucin­da MacK­ethan at the Nation­al Human­i­ties Cen­ter, “African Amer­i­can writ­ers per­fect­ed one of the nation’s first tru­ly indige­nous gen­res of writ­ten lit­er­a­ture: the North Amer­i­can slave nar­ra­tive.” These heav­i­ly medi­at­ed mem­oirs were the only real first­hand accounts of slav­ery most Amer­i­cans out­side the South encoun­tered. Their authors were urged by abo­li­tion­ist pub­lish­ers to adopt con­ven­tions of the sen­ti­men­tal nov­el, and to fea­ture showy intro­duc­tions by white edi­tors to val­i­date their authen­tic­i­ty.

Fugi­tive slave nar­ra­tives did not nec­es­sar­i­ly give white Amer­i­cans new infor­ma­tion about slavery’s wrongs, but they served as “proof” that enslaved peo­ple were, in fact, peo­ple, with feel­ings and intel­lects and aspi­ra­tions just like theirs. Ex-enslaved writ­ers like Fred­er­ick Dou­glass and Har­ri­et Jacobs sen­sa­tion­al­ized read­ers with sto­ries of the phys­i­cal and sex­u­al vio­lence of slav­ery, and their sto­ries became abo­li­tion­ists’ most potent weapon. The form suc­ceed­ed as much on dra­mat­ic effect as on its doc­u­men­tary val­ue.

Dou­glas and Jacobs were excep­tion­al in that they had learned to read and write and escaped their ter­ri­ble con­di­tions through strength of will, inge­nu­ity, the kind­ness­es of oth­ers, and sheer luck. Most were not so for­tu­nate. But we now have access to many more first­hand accounts—thanks to the work of the Fed­er­al Writ­ers Project (FWP) of the Works Progress Admin­is­tra­tion and oth­ers, who record­ed thou­sands of inter­views with for­mer­ly enslaved peo­ple liv­ing well into the 20th cen­tu­ry, all from the first gen­er­a­tion to out­live slav­ery.

Ted Kop­pel debuted some clips of those record­ings to his Night­line audi­ence in the 1999 episode above. “They are haunt­ing voic­es,” he says, then pref­aces the tape with “brace your­selves for a minor mir­a­cle.” What is mirac­u­lous about the fact that peo­ple who were born in slav­ery lived into the age of audio record­ing? Per­haps one rea­son it seems so is that we are con­di­tioned to think of legal enslave­ment and its effects as reced­ing fur­ther back in time than they actu­al­ly do. In the 1930s, the FWP filed tran­scripts of over 2,300 inter­views and 500 black-and-white pho­tographs of peo­ple born into slav­ery.

Also, in the 30s, eth­nol­o­gists like Zora Neale Hurston and the Lomax­es began record­ing audio inter­views with for­mer­ly enslaved peo­ple like Foun­tain Hugh­es, fur­ther up, born in Char­lottesville, Vir­ginia. Record­ed in 1949, he is fear­ful­ly reluc­tant to talk about his expe­ri­ence but vocal about it nonethe­less: ““You was­n’t no more than a dog to some of them in them days. You was­n’t treat­ed as good as they treat dogs now. But still I did­n’t like to talk about it. Because it makes, makes peo­ple feel bad you know. Uh, I, I could say a whole lot I don’t like to say. And I won’t say a whole lot more.”

The Library of Con­gress puts the 23 sur­viv­ing record­ings in con­text:

The record­ings of for­mer slaves in Voic­es Remem­ber­ing Slav­ery: Freed Peo­ple Tell Their Sto­ries took place between 1932 and 1975 in nine states. Twen­ty-three inter­vie­wees dis­cuss how they felt about slav­ery, slave­hold­ers, coer­cion of slaves, their fam­i­lies, and free­dom. Sev­er­al indi­vid­u­als sing songs, many of which were learned dur­ing the time of their enslave­ment. It is impor­tant to note that all of the inter­vie­wees spoke six­ty or more years after the end of their enslave­ment, and it is their full lives that are reflect­ed in these record­ings. The indi­vid­u­als doc­u­ment­ed in this pre­sen­ta­tion have much to say about liv­ing as African Amer­i­cans from the 1870s to the 1930s, and beyond.

Only sev­en of these voic­es have been matched with pho­tographs. Many of these mean and women were inter­viewed else­where, but on the whole, lit­tle bio­graph­i­cal infor­ma­tion about them exists. The final inter­vie­wee, Char­lie Smith, record­ed in 1975, was the sub­ject of a book and numer­ous mag­a­zine arti­cles. He died four years lat­er at 137 years old. Hear all of the audio inter­views with for­mer­ly enslaved peo­ple at the Library of Congress’s Voic­es Remem­ber­ing Slav­ery project and find resources for teach­ers here.

Relat­ed Con­tent:

The Names of 1.8 Mil­lion Eman­ci­pat­ed Slaves Are Now Search­able in the World’s Largest Genealog­i­cal Data­base, Help­ing African Amer­i­cans Find Lost Ances­tors

What the Text­books Don’t Tell Us About The Atlantic Slave Trade: An Ani­mat­ed Video Fills In His­tor­i­cal Gaps

The Atlantic Slave Trade Visu­al­ized in Two Min­utes: 10 Mil­lion Lives, 20,000 Voy­ages, Over 315 Years

The “Slave Bible” Removed Key Bib­li­cal Pas­sages In Order to Legit­imize Slav­ery & Dis­cour­age a Slave Rebel­lion (1807)

1.5 Mil­lion Slav­ery Era Doc­u­ments Will Be Dig­i­tized, Help­ing African Amer­i­cans to Learn About Their Lost Ances­tors

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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